Skip to main content

Full text of "Movable stationery"

See other formats




N UMB E R 4 



Pop-up Royalty 

September 2001 

Dear Fellow Citizens of Our Pop-up Planet, 

Music has its royalty. There's the "King of Rock 'n' 
Roll" and the "Queen of Soul." And so do the other 
industries, especially egotistical Hollywood. Who can 
forget James Cameron's "I'm the King of the World" 
speech in front of a global television audience several 
years ago? As for our pop-up planet, do we have a 
"movable monarchy?" I think I have the answer — and I 
found it the hard way. 

It all started with an innocuous (so I thought) sentence 
I wrote for the Andrew Baron article. Buried somewhere 
in the middle of my write-up, it read: "Shouldn't the heir 
to the movable crown have the portraits of Messrs. Lothar 
Meggendorfer and Julian Wehr on his wall instead of Will 

As a courtesy, 
I cleared the entire 
article, which 
included the 
sentence, with 
Andy. After all, I 
consider myself 
a responsible 
writer AND a 
responsible citizen 
of our pop-up 
planet. Unlike some 
members of the 
press, I don't 
relish the idea 
of putting 
anyone in an 
position. And this 
includes handing 
out titles like 
"Queen of the 
Nile"or, yes, 
"King of the Pop-ups." 

Boy Rogers. The future "King of 

Invertebrate Anthropod-ups" at 

age 3. David A. Carter wrote: "I 

can assure you that I am not this 

cute any more." 

David A. Carter astutely observes: "The term 'King 
of Pop-up' is used a bit too freely as far as I am concerned 
The publicity department of my publisher has also used it 
to refer to me, which I discouraged." David comments on 
the absurdity of this practice: "They [the press] then got in 
trouble when Robert Sabuda showed up. What would they 
call him, the Crown Prince?" And that is what exactly 
happened. Publishers Weekly stuck on him the "Prince of 
Paper" label. Ellen Rubin reports that Robert was "dubbed 
that when he was barely 30 years old." But I'm (we're) 
getting ahead of myself (ourselves). 

Andy wrote back: '"...the heir to the movable crown...' 
is a little over the top, I think. If Ann wants to edit this 
out, I for one, have no objections and would support the 
move. I don't think the movable crown will be moving 
anytime soon." I had already submitted the article to Ann 
Montanaro, so I ignored Andy's comments, hoping he 
would re-read the sentence and eventually see where I was 
coming from. He wrote a few hours later: "In fact, might 
we change those words? I'm a little self-conscious. What 
would Robert's fans (myself included) think?" 

1, being a Robert fan myself, quickly countered with 
this reply: "I insist on retaining '...the heir to the movable 
crown...' for four (4) simple reasons. First, I wrote 
'movable crown' and NOT 'pop-up crown.' It is 
undeniable that Robert Sabuda currently wears (and will 
probably wear for a loooong, loooong time) the pop-up 
crown. ' In fact, I'd be the first one to challenge any person 
who doesn't think so. The press calls him the 'Prince of 
Paper,' I call him the 'King of New York.'" 

(Author's Note: In the said article, I referred to Andy 
as the "Baron of Santa Fe" — obviously a play on his 
surname and the city he lives in. Since Robert resides in 
the Big Apple, for parallelism purposes, I refer to him as 
the "King of New York." I would like to state 
categorically here that this "King of New York" monicker 
is NOT entirely about pop-ups. In the spring of 1998, I 
was on my way to watch "The Lion King" when I met 
Robert for the first time in New York City. But that's 
another story for another article.) 

I'd like to think that everyone by now (except for those 
who haven't heard about the New York Times bestseller 
lists yet) knows Robert currently wears the "pop-up 
crown." Continued on page 12 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 1 1654, New Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is February 15. 

A Visit to Ampersand Books 

Marilyn Olin 
Livingston, New Jersey 

Visiting Ampersand Books, in Ludlow, England is a 
movable book collector's dream come true. My wish is 
that all of you could have this experience, but since 
obviously you can't, let me tell you about my day with 
Megan and Michael Dawson. 

Megan and Michael Dawson at 
Brooklyn exhibit, 2000 

Ampersand Books was started by Megan and Michael 
in 1982. The company which specializes in dimensional 
and interactive books - pop-ups, movable and children's 
novelty books, basically sells through his website, and his cataloge. Some of 
his books are classics of the last part of the 20th century, 
but many are wonderful examples of paper engineering 
from the 1920s to the 1960s, with some rare early 19th 
century children's books. 

Before leaving on our trip to London, I contacted 
Michael and asked if it would be possible for us to visit 
him. He answered "Yes" promptly, but informed me that 
Ludlow, was about a three hour train ride from London. 
After many e-mails back and forth, our visit was finalized. 

We were invited for lunch and Michael was kind enough to 
say he would meet us at the train. 

The day we had decided to visit Ampersand, turned out 
to be a bank holiday, sort of like our Labor Day, so the train 
schedule was slightly different. From Paddington Station, we 
caught the 9:00 train to Newport, where we were to make a 
connection to Ludlow. After arriving too late to make our 
10:59 connection, because of cows on the track, we called 
Michael and made the next train, at 1 1:59. On our arrival, 
he met us and drove us through the town. It looked lovely 
and would have been a wonderful place to walk around in, 
but we never had time to do this. 

We soon arrived at Michael and Megan Dawson's 
delightful home. Ludford Mill is an old converted mill, with 
the wheel still kept as part of the house. Old beams are 
everywhere and the house is full of light and charm. Megan's 
gardens are beautiful, terraced with colors aglow in every 
corner, with a river passing it by. It is an English dream 
come true. 

Megan had prepared a lovely lunch for us, a poached 
salmon salad with cucumber. It was perfect! We then 
presented Michael with The Paper Jewelry Collection, a 
book I purchased at the American Craft Museum in N.Y.C., 
thinking it would be unavailable in London. I had seen it 
since in our search through other English bookstores, but 
with a different cover. (This is something I found that you 
have to watch for when purchasing books in England. Many 
of them are the same inside as ones that are published in the 
U.S. A., but have different covers.) Luckily, Michael didn't 
have it and was pleased with our gift. 

After lunch and tea Michael led me to his oak-beamed 
treasure room. While Megan took my husband outside and 
gave him a garden tour, I wallowed in movable books 
finding one treasure after another. I won't tell you how many 
I eventually purchased, but it was more than I could possibly 
take home, so we had to ship them. I was in a movable book 
fan's paradise. 

After sifting through hundreds of books and picking 
those I couldn't live without, Michael allowed us to view his 
private collection. Having access to many sources I am sure 
his is one of the finest collections. Many Bookano, Kubasta, 
and other books difficult to find are on his shelves. 

By this time, even I was slightly booked out and would 
have loved to browse in the town but it was time for us to 
start back. By the way, there is a well-known town of books, 
Hay-on-Wye, less than an hour's drive from Ludow. Michael 
did also mention that he hopes, some time in the nature, to 
have a room available as a B & B for those people who 
would like to visit Ampersand. Continued on page 5 

Graham Brown 
The Mao in Black 

Adie C. Pena 

Makati City, the Philippines 

His self-promo material calls M 
him "a creative force in children's |o 
book publishing for over two ^ 

decades" but his namesake 
Graham Marks in Publishing 
News has dubbed him the 
"King of the Pop-ups." 
Graham Brown quickly 
clarifies that this epithet 
was "really a 
journalistic pun 
on my e-mail 
address" - 
referring to the 
"popking" in 
<graham@popking.>. He 
most humbly admits: 
"I think I have added 
(to) and been formative 
in the pop-up world but (I) wouldn't M 
take the title of 'king.' This can 
only really be attributed to Wally 
(Hunt). Without him none of us 
would be in the business as it 
probably wouldn't exist." 

He'd really rather be 
known as "the Man in Black." 
(No, it has nothing to do with 
the "demon" in his e-mail address 
either.) He explains: "I never 
wear anything but black.. .it 
became an image thing and 
goes nicely up against Ron's red 
shoes" — undeniably an allusion 
to Ron van der Meer's famous 
footwear-cum-logo. Aren't 
these pop-up people a 
fashionable lot? 

So what's a 
day in the life 
of a "creative 
force" like? 
Unlike mere 
mortals who 
have to 

struggle through an unnerving 2-hour 

commute to work, the 53-year old ("1 

don't normally divulge that but I was 

born in 1948") Man in Black takes a 

leisurely 5-minute stroll everyday 

from his "large Victorian house" 

to his office ~ a "converted 

Victorian Court House in South 

East London." 

I arrive about 7:30 a.m., go 
through my overnight 
e-mails and reply, 
read my mail, faxes 
and respond." (For 3 
days in August, I 
became an active 
participant in this dairy 
morning ritual - with 
Graham in England, and 
me in the Philippines. Each 
one trapped in another time 
zone, I would e-mail my 
questions at Manila 
morning time; and Graham 
would respond seven or so 
hours later at London 
breakfast time.) 

In spite of his very 
busy schedule ("I 
travel either on 
production or 
sales approximately 
12 weeks a year so 
quite a bit of my time is 
spent in organizing trips; and 
meetings; and, of course, creating 
and costing new formats."), Graham 
was accommodating enough to accede 
to a "virtual" interview, and to 
efficiently answer my e-mailed queries. 
("My mousepad has a tasteful black- 
and-white shot of 6 bikini-clad 
girls on the beach that my wife 
bought me [I hasten to add not 
pornographic] from Harvey 
Nichols." Reason 
probably why BWJ's 
Managing Director 
enjoys working 
at his computer. 

Continued on page 8 

The Iowa Series, 
or How a Tornado Spawned Five Books 

By Emily Martin 
Iowa City, Iowa 

I come to making books from a painting background. 
I have been working with narrative images for more than 
20 years. For the last 10 years I have been moving back 
and forth between painting, sculpture, artists' books, print 
making and writing. Images begun in one format will 
often appear, modified, in another format. Particularly in 
the book structures the content, whether visual or text or 
both, and the formats are always working in tandem. 

In 2000 I finally finished what started as a pair of 
books and eventually became a series of five books with 
similar texts, using different movable/sculptural 
structures. It began with the idea of a tornado. I live in 
Iowa and when I travel, I often get questions along the 
lines of "how can you stand to live there." So late in 1 998, 
I decided it was time to address my affection for my state 
in an artists' book. Because I started with the tornado 
image, almost immediately I had ideas for two different 
formats, the pop-up tornado and the drawn tornado on 
Mylar for a tunnel book. 

As I was fine-tuning the text for those two books, I 
realized the text alone would fit well in a woven flexagon 
format, a fairly simple format that can be produced 
quickly and cheaply, using photocopies on card stock. The 
book can be read as an accordion book with all the 
complaints visible and the rebuttals hidden, or the woven 
sections can be opened and read page by page with the 
complaints and rebuttals viewed in combination. So the 
book, Hike It. Here, ( 1 998, 3 3 A" x 2 %"), an open edition, 
became the first of the Iowa books and I now had a set of 
three books. 

Thinking about the woven flexagon also reminded me 
of similarities with the Jacob's ladder format and the 
series jumped to four. I'll talk more about that later. 

The second Iowa book is the tunnel book, Life in Iowa, 
(1999, 4" x 7", edition of 50). I painted a set of five 
watercolor landscapes, which were scanned and printed by 
color Xerox and then hand assembled. The rain and the 
tornado were drawn, scanned and printed on Mylar. The 
text for the tunnel book is as follows: 

I live in Iowa. 1 always have. 1 probably always will. 

This is not easily understood by others: 

The winters are cold and seemingly endless. 

It's damp in the spring. 

There can be floods. Summers are hot and humid. 

Tornadoes are terrifying. 

And in the fall everything dies. 

Yes, the weather can be truly awful much of the time. 

However, the human climate is sublime. 

The last line is borrowed from my husband's graduate school 
mentor who lived the first half of his life in New York City. 

The third book, I Live in Iowa, (1999, 7" x 8H", edition 

I Live in Iowa 

of 10) is a pop-up book made of using paste paints and 
various pop-ups. The houses are constructed from natural 
cover weight flax paper made at the University of Iowa's 
Papermaking facility. The first panel for winter is a set of 
simple horizontal V pop-ups of snowdrifts engulfing a 
house. I made the flood by draping paste paper sheets over 
a cylinder pop-up to form a tidal wave. The blazing sun is 
suspended above the house, with an extension from the 
horizontal box pop-up; bright yellow cotton strings are 
attached to represent sun rays. The tornado is constructed of 
black wire coiled to pop up. 

While I was involved in the production of the pop-up 
components, I got a call from the people at Columbia 
College Book Center in Chicago. They wanted me to teach 
a carousel workshop and needed an example of one of my 
books for the publicity. I hadn't actually ever used the format 
for an edition, although I have been teaching the assembly 
for years. So, the carousel book How Can I Live in Iowa? 
(1999, 5" x 7", edition of 25) arose from that request and 
there were now five Iowa books. 

The landscapes are colored pencil drawings of landscapes 
that were scanned and printed onto Mohawk Superfine using 
archival ink jet cartridges and then hand cut and assembled. 
Each of the segments has a front frame with the text and two 
shaped middle ground panels and then the solid background 
panel. The house on the tornado page is literally torn from 
its ground and attached upside down to the Mylar. 

How Can I Live in Iowa? 

Ampersand Books, continued from page 2 

The train ride back was uneventful, passing interesting 
towns, houses and old railroad stations. Luckily we had 
reserved seats, because many people were standing. English 
trains are wonderful, each car is clean and has its own 
bathroom. After changing, with no problem this time, we 
arrived back at Paddington Station at the tail end of the 
Notting Hill Carnival, a huge Carribean fest. The line to get 
a taxi was three streets long, because people were also 
coming in from Heathrow Airport, coming back from the 
three day holiday and going home from the fair. Luckily our 
favorite taxi driver had agreed to pick us up and we quickly 
located him. What a wonderful day! Thank you Michael 
and Megan Dawson for a great visit. 

The Jacob's ladder ended up being the last one to be 
produced, even though the ideal and preliminary work was 
begun at the start of the series. The friend that I do 
letterpress printing with had a stroke the week before we 
were to start printing. So the rest of the Iowa books moved 
ahead and this book was put on hold. I am pleased to say 
that my friend has recovered enough to be my advisor 
during the printing. This book is called Yes, I Live in Iowa 
(2000, 2" x 7", edition of 25). I made two patterns, to be 
made into polymer plates for letterpress printing. The two 
patterns were layered in different colors on each of the 
panels, with the text printed on top in black. I wanted the 
Jacob's ladder to be printed letterpress on two kinds of 
flax paper for strength and durability. 

The straps of the Jacob ladder conceal half of the text at 
any given time. There are four possible sides, two visible 
at a time. The book can be viewed page by page and can 
also be flipped back and forth as a Jacob's ladder. And so 
at last the five books have all been completed. 

Yes, I Live in Iowa 

[See more of Emily Martin's work online at:] 

Exhibit Catalog 

In the summer of 2001, an exhibit of pop-up books from 
the collection of Raphael Griinzweig was held in Ra'anana 
(Israel) Municipal Town Hall, Art Gallery Yad Lebanim 
Memorial Center. The exhibition spread over two floors in 
27 cases and included about 100 books. Thousands of 
visitors viewed the exhibition, including 60 organized school 
groups with students of kindergarten age to a university 
design department. It was also featured in a magazine, five 
television shows, and newspapers. 

A 40-page exhibition catalog Toy Books from the 
Collection of Raphael Griinzweig: Pop-ups, Moveable, 3-D 
& Novelty Books was published by the Ra'anana Culture 
Department. The catalog includes pictures of black and 
white covers throughout the catalog as well as eight full- 
color pages. While the text of the catalog is in Hebrew, most 
of the books shown in the catalog are in English. The 
catalog was issued in three separate editions. The first 
edition of 500 copies was destroyed by the printer because of 
printing errors. (The author retained eight to ten copies as 
souvenirs.) The second edition of 500 copies was completely 
sold out. From that edition, about 250 copies were sold or 
presented to libraries in Israel, 100 went to the media 
(newspapers, television, radio, etc.), and the rest were sold 
to the public. The third edition included a larger 
bibliography was printed in an edition of 350 copies. The 
third edition is almost all sold. 

Some copies of the second and third editions are 
available from Raphael Griinzweig for $25 (US) or £15 
(UK). However, rather than selling the catalog, he is 
interested in swapping pop-up, shaped, or miniature books 
with readers in exchange for the catalog. Raphael can be 
contacted at P.O. Box 80, Ra'anana 43100, Israel. His fax 
number is 972-9-7719001. He does not have email. 


■ HgHiiJi 


f - - "■ ';. 

Mr if "^H 


"■:'''■ \ 

. ItwSAS 1' t5.».£2>A . 

Connecticut Book Fair 

Jean Giordano 
Norwalk, Connecticut 

I attended the 10 th Annual Connecticut Children's 
Book Fair, November 10-11, 2001, on the campus of the 
University of Connecticut at Storrs. 

Robert Sabuda and 
Matthew Reinhart were 
among the authors and 
illustrators participating 
and they did a joint 
presentation on pop-ups. 
First they demonstrated 
simple pop-ups using the 
two basic elements of paper 
engineering: the layer and 
the v-fold. Robert folded 
and cut the paper, then 
handed it to Matthew to draw and color in an image. One 
was a triple layer which turned into a birthday cake. A 
double v-fold became a chicken eating a worm. The 
children were sitting or laying on the floor and really 
enjoyed the playful demo. 

The second part of their presentation was a slide show 
about how a pop-up book is made. Robert explained the 
first stage, where they work out the ideas (in this case for 
the Beetles and Butterflies books). They don't start with 
sketches, but with actual pop-ups, so they can see if they 
are going to work, and how they look within the book. 
Then Matt talked about his use of watercolor for the 
illustrations, and how they are adapted to match Robert's 
cut-outs by scanning into a computer. 

Then came the most 
amazing part of the 
presentation. Each painstaking 
step in the process of printing 
and assembling the pop-up 
book was explained. They used 
Matthew's photos from their 
trip to the printing company in 
Colombia. Each part of each 
pop-up in the book is 
transferred to a wood block. 
The outlines are burned 

through with a laser beam. Then thin pieces of metal with 
sharp edges are fitted into the space of the outline. As 
each sheet is printed, the metal perforates the outlines. 
Then with a sledge hammer, a stack of sheets is pounded 

to release the cut-out parts. They are banded together and 
set aside. In the assembly room, many people are seated next 
to each other. They work on one spread at a time; a person 
puts in the first part, then hands the spread to the next 
person for the next piece, and so on. There are supervisors 
who check to make sure the spreads actually work. Robert 
said they can produce about 10,000 a books a week! 

After the presentation I got to talk with both Matt and 
Robert, and got my copy of The Movable Mother Goose 
personally autographed. As I told Robert, I felt inspired after 
their presentation. Although learning paper engineering is 
difficult, I felt renewed commitment to create a book. Now 
it's time to get to work! 

Carvajal to Discontinue 
Pop-up Production 

The Board of Directors of Cargraphics, a Carvajal Group 
Company, has discontinued its Hand Labor operation, better 
known as "The Pop-up Book Division" (Libros Animados). 

Cargarphics Hand Labor Division was founded in 1968. 
Printing, die-cutting, and hand labor work was performed in 
Colombia, South America. In 1993 another hand labor plant 
was opened in Ibarra, Ecuador but the printing and die- 
cutting remained in Colombia. 

During the history of the Cargraphics Hand Labor 
Operation, the company successfully produced books for 
publishers, packagers, and brokers located mainly in Europe 
and the United States. The pop-up books were printed in 32 
different languages and distributed all over the world. 

In recent years, due to the high cost of operating in 
Colombia and Ecuador, as well as increased competition 
from different countries in Asia, mainly in Hong Kong and 
China, the Cargraphics Hand Labor Business not been 
profitable. Therefore, the company has announced its plans 
to discontinue the Hand Labor Division of Cargraphics 
starting in the year 2002. 

Cargraphics will concentrate its efforts and resources on 
more profitable areas and activities of the graphics arts field, 
as well as publishing. 

2002 Conference Planning 

I have been asked to help plan the program for the 
2002 Movable Book Society conference in Milwaukee. I 
would like to have suggestions from members about topics 
to be covered there. The topics at the first three 
conferences are listed below as a guide. Please let me 
know what you would like to see more of, less of, or 
instead of. Please be as specific as possible. I would also 
like to hear from any members (authors, book dealers, 
collectors) who have a topic they would be willing to 
present at the conference. 

Roy C. Dicks, 

930 Wimbleton Drive 

Raleigh, NC 27609 

919/781-3291 voice 
919/783-0654 fax 

History of pop-ups and movables: 

96- Carol Barton - overview 

98 - Robert Sabuda - overview 

98 - Howard Rootenberg - Medical and scientific 

00 - Owen Gingerich - volvelles 

Illustrator/Paper Engineer presentation: 

96 - Robert Sabuda- Twelve Days of Christmas 

96 - Joan Irvine - lessons from her how-to books 

98 - Chuck Murphy - Jack and the Bean Stalk 

98 - Pat Paris - Hallmark books 

00 - Kees Moerbeek - The Spooky Scrapbook 

00- Andrew Baron - Circus! and The Hobbit 

00 - Robert Sabuda - Brooklyn Pops Up 

00 - Pam Pease - The Garden is Open 

Care, repair and preservation: 

96 - Joanne Page -repair 

96 - Maria Pisano - making storage cases 

00 - Joanne Page - repair 

Book dealer sales, marketing and valuing: 

96 - Elizabeth Wessels, Bookfinders International 

Artists books: 

98 - Ed Hutchins 

00 - Debra Weier and Lois Morrison 


98 - Betty Traganza - Hallmark books 

98 - Ellen Rubin - pop-ups for grownups - erotica 

00 - Adie Pena - music-related collectibles 

This Pyramid 

Will Rise In 



1 he pop-up Transamerica Corporation Tower in the 
September 8, 1986 issue ofTime magazine, that is. 

Victoria Gilbert, media director of the advertising agency 
Delia Femina Travisano & Partners, brought along some 
children's pop-up books to a client meeting, hoping to 
convince the insurance company to run a three-dimensional 
representation of the San Francisco skyline within the pages of 
a widely-circulated weekly magazine. The Transamerica 
executives bought her idea and the rest, as they say, is 

Just one of the numerous untold stories you'll be hearing 
at the pop-up advertising exhibit, scheduled in the fall of 2002 
at the Eisner Museum of Advertising and Design in Milwaukee. 

Make your plans now for that much-needed (commercial) 
break next September. And enjoy three days of movable 
feasts, friends and fun! 



SEPTEMBER 19 - 21, 2002 

Graham Brown, continued from page 3 

"My staff arrive around 9 a.m. and we go through the 
jobs in hand that need chasing or acting on. Illustrators 
are talked to, printers scheduled, current jobs looked over, 
etc. This takes most of the morning." Graham 
appreciatively talks about some members ofhis "dedicated 
team of full-time staff' who have worked with him for the 
past 14 to 16 years. 

Like a proud papa, he starts enumerating them: "Jan 
who does the DTP work and deals with the many 
international co-edition work. Ruth, a talented paper 
engineer and a recent talent in computer illustration. 
Mike, a licensed character illustrator who has worked on 
the majority of the Disney books. Lisa, a new member of 
the team aids as a PA and production manager — a vital 
role in the life of a packaging firm." He probably has all 
their pictures in his wallet. 

Spread from Barbie's Busy Week 

"After lunch (usually at a "local restaurant"), I do 
telephone conversations with customers and suppliers and 
send e-mails. As I do the majority of my work in the USA, 
this takes me through to usually around 7:30-8 p.m." I've 
always believed that a man who puts in long hours at the 
office rightfully deserves a home 5 minutes away. 

As in any "real" interview, the location is often a 
springboard for conversation. Graham gamely sends jpegs 
ofhis office. "My walls are mostly shelves which are lull 
of books [my own and others]; and lots of toys - mostly 
collectible freebies I've received from movie launches and 
promotional parties. Also people buy me playable 
things.. .soft toys, figures, wind-ups, reproduction antique 
toys, as well as license characters I've worked on." 

Behind some ofhis toys rests a framed color picture 
of wife Ailsa "in front of the pyramids in Egypt." (Yes, 
the woman who gave him the non-pornographic 
mousepad.) "She plays the role of critic, wife, friend and 

supporter of my strange life. She worked for a number of 
years with me when we started up a publishing house doing 
the sales and playing the role of publisher. I have a son 
called Gavin. He's 30 years old and works in the 
telecommunications business; (and is) currently living in 
Washington D.C." 

On another shelf are dozens of watches. "I have over 
45. It just happened that I kept wanting to buy neat watches. 
Some serious, some fun. I have ten Disney Frankfurt 
watches [they do a special watch every year], some 
off-the-wall fun watches, a few 1930s Bulovas, a 
Mondavo..." Who says busy executives don't have any time 
for themselves? 

"My over large desk is usually full of e-mails, faxes, 
notes and scribbles of ideas. I find filing tends to put things 
out of memory. I do tidy twice a week for the cleaner to get 
to my desk." Aside from the setting, Graham would likewise 
provide the soundtrack for this "interview" by volunteering 
the following tidbit: "I hate working in silence and have 
music on all day. (I listen to) 60s soul, blues, jazz and 
contemporary (artists) like Prince, All Saints, En Vogue and 
Keb Mo; as well as a great radio station called Jazz FM." 
Graham describes his musical taste as "very eclectic." 

To get into the groove, I slip an R&B CD into my 
laptop as I learn more about the MiB. 

Everyone knows that a person's musical preferences are 
usually clues to when he went to school. Graham's on-line 
profile states: "Having left art college in 1969 (didn't the 
man just say "60s soul"?) with a degree in graphic design, 
he immediately went freelance.. .working in the areas of 
advertising, corporate and magazine design under the name 
Alias Design." 

Graham adds that "Alias Design dealt mainly with 
commercial design and corporate company logos and 
letterheads." I ask if has designed a logo that's recognized 
worldwide and he modestly replies: "Sorry, no... I wasn't that 
big a design company." Apparently the big one was yet to 

After a "chance meeting" with fellow designers/ 
illustrators Mick Wells and Phil Jacobs, the three formed 
Brown Wells & Jacobs in 1978. "Combining the skills of 
illustration, design, typography and marketing," the new 
company initially did "illustration jobs for Hamlyn and 
Intercontinental Books among others. After doing these 
projects we started to actively look for publishing jobs and 
started going to the book fairs. It wasn't long before we 
wanted to design and package books of our own." 

"The first two pop-up books we packaged for Hamlyn 
were My First Pop-up Book OfOpposites (1984) and My 
First Pop-up Book Of Together s (1984). Mick and I 
designed and illustrated them. The second pop-up we did 
was The Ultimate Pop-up Cocktail Book (1984) for Ward 
Lock." The "Ultimate" book, which featured cocktail 
recipes, was perhaps one of the first pop-up books that 
would tackle an above- 18 subject matter. 

I mention to Graham the July 12, 2001 Los Angeles 
Times article by Jeannine Stein wherein she talks about "a 
coming-of-age for pop-ups, once considered the domain of 
the under- 10 set but always a secret pleasure for adults." 
Does he agree with the "coming-of-age" observation? "As 
I did three 'adult' pop-ups in the 80s (the aforementioned 
Cocktail Book in 1984; Elvis and Tke Beatles in 1985), 
I've always felt there was a very good market for adult 
pops." Yes, Ms. Stein, the Man in Black was already 
creating pop-ups for grown-ups 17 years ago! 

In the mid-80s, two back-to-back developments kept 
the MiB ever so busy - a relationship was formed with 
Simon & Schuster, Inc., New York; and his two partners 
moved on to "other creative areas" which allowed Graham 
to run BWJ on his own. 

"The Weather Pop-up Book, produced for Simon & 
Schuster in 1986, was one of the first real 'scientific' 
non-fiction pop-ups treating a complicated subject 
intelligently for the older child." He tacks on this piece of 
trivia: "It even used a celebrity author [Francis Wilson] 
who still heads the Weather (Section) on Sky News." 

Graham picks up from where he left off: "This led to 
a large range of similar books from both BWJ and other 
packagers. We continued this range [A Three-Dimensional 
Atlas of the World (1988); Planet Earth (1989); The 
Power Pop-up Book ( 1 99 1 ); and Global Warning ( 1 992)] 
for over 5 years with Simon & Schuster. (These books) 
only recently went out of print." 

In 1989, the House of Mouse called up the Man in 
Black. Impressed by the "major new formats" initiated by 
BWJ, the Walt Disney Company forged a partnership that 
would "strengthen and develop (BWJs) creative 
talents... and (allow the company) to go into many other 
licensed character formats." Of the many projects he's 
done for Disney, Graham is very proud of the 'Top-up 
Pals" format he did for "Mouse Works" over a 5-year 
period. "(It) was unique in the way it provided a 
wonderfully constructed pop-up book at a very good 
budget price that's not really been improved on or 

When Ann Montanaro gave me this assignment, she 
noted: "it would be interesting to know what happened to the 
Disney contract that kept BWJ very busy several years ago." 
I didn't need to ask the question. Graham, on his own 
volition, revealed: "I'm not working directly with Disney 
(anymore) but (I) have now taken on the role of novelty book 
producer for Random House which includes their Disney 
list. We are working on two pop-ups for next year. One is a 
heart-shaped pop using the Disney Princess characters; the 
other is for 'Treasure Planet.' I (likewise) still produce books 
for the International Disney licensees." 

Though Michael Wells and Philip Jacobs are long gone 
from BWJ, not only do their names remain on the door but 
so do their professional ties. "We still all work together on 
projects. I still use both Mick and Phil for illustration and 
some design work. V currently working with Mick on 
illustration work for two mini-pop boardbooks for Random 
House — Thomas the Tank Engine and Buzz Lightyear. Phil 
did the art on a book called Gel Pen Studio this year [not 
a pop-up]; and will be working on My First Book of Cookie 
Fun this fall." 

Do you have a "wish lisf'of topics you would like to 
pop up? "Yes, there are a number of subjects that I think 
would make wonderful books and most are more adult in 
nature. I don't think I can be fully open on their actual 
subjects in an open article." When pressed to give at least 
one example, he laughs out loud and asserts: "I don't know 
anything that wouldn't be suitable if treated right. After all, 
I have just done a birthing book." 

Spread from Who am I? Where Did I Come From? 

The "birthing book" is Who Am I? Wfiere Did I Come 
From? — the pop-up volume by sex therapist Dr. Ruth K. 
Westheimer. Described in pre-publication press articles as "a 
story for children about where babies come (from)." this 
much-awaited movable was scheduled for a Spring 2001 
release, was postponed to July 2001, and then moved to fall 
(September 2001). 

Why the numerous postponements? He assures me: 
"We are shipping right now. The delay was due to the 
money problems Golden was going through which have 
now been resolved by Golden being acquired by Random 
House." (According to a July 26 Reuters dispatch, 
Random House Inc. and Classic Media Inc. made an 
eleventh-hour bid for the assets of the bankrupt Golden 
Books. But what makes this seemingly boring business 
story terribly interesting are the players involved. Keith J. 
Kelly of the New York Post reported: "[Current Golden 
chairman Dick] Snyder, an acerbic [sic] one-time CEO of 
Simon & Schuster, has been a bitter rival of Random 
House throughout his publishing career. Adding to his 
discomfort, Classic Media CEO Eric Ellenbogen once 
worked for Snyder at Golden Books, but left after a falling 
out with Snyder." Ooops! There goes another 
"Golden"parachute. But I digress.) 

Corporate politics aside, will it be worth the wait for 
us collectors? "As a collectible pop-up, (the Doctor Ruth 
book) isn't what I would say was one of much complexity. 
It is more about subject than actual mechanics." Any other 
BWJ books that we should look out for? "I have produced 
about 10 lift-the-flap/pop-up books in the last 12 months. 
My favorites are Scooby Doo: The Pyramid Mysteiy 
through Golden; and Let's Look At Wild Animals and 
Let's Look Under The Sea obtainable from Borders in the 
US, Social Clubs in Australia and Beascoa in Spain. 
"Animals" and "Sea" are two of the most complicated [in 
terms of paper usage, etc.] I have done for a number of 
years. I also have a Barbie book coming out next month 
with Golden [which I think is a very exciting new form of 
pop-up for the older child] called Barbie's Busy Week." 

Spread from Let's Look at Wild Animals 

I ask him to name a favorite book artist or paper 
engineer. "I worked with Vic Duppa-Whyte on The 

Legend of King Arthur and the Round Table (1987). I 
enjoyed the collaboration greatly because he was a brilliant 
paper engineer and a very laid-back guy. Unfortunately, he 
died before it was completed. I was still quite young and it 
was a great learning experience. In my opinion he was 
probably the most original and creative paper engineer 

He reminisces: "We enjoyed being creative over a beer 
in his local pub." So, do you still drink? "Red wine and lots 
of it." Any particular brand? "Rhone Valley is preferred." A 
wine cellar in the house? "Not really a cellar but quite a 
large store." Ron van der Meer should have dedicated his 
Hugh Johnson's Pop-up Wine Book (1989) to this guy! 

Any other pop-up celebrities? "I admire the work of 
Robert (Sabuda) and Ron (van der Meer). I think Robert has 
done some magical work with Simon & Schuster. I 
particularly liked the two Christmas books [The Christmas 
Alphabet (1994) and 12 Days of Christmas (1996)]. They 
have a purist quality and celebrate the art of paper 
engineering without being detracted by the artwork. Ron's 
art book for DK [ The Kids ' Art Pack ( 1 997)] was also a very 
inspirational book even though it didn't use a lot of 

Is there a fairly recent pop-up title (not by BWJ) that 
you wish you were part of? "I would have liked to have been 
involved in The New York Pop-up Book (1999) as it was a 
great project." Given the much-publicized California Pop-up 
Book and Ron's long-planned Holland Pack, how about a 
"London Pop-up Book?" "If you can find a publisher to fund 
it then it would be a great book." He quickly reminds me: "I 
actually did a little fun book entitled Pop-up London in 
1984." (I was tempted to tell Graham that I had his Pop-up 
Scotland in my collection minus the aforementioned 
companion volume. Thankfully, my propriety got in the 

Is there a published BWJ book, if given the chance, you 
would redo? "Most of them on reflection but then being a 
packager entails many compromises." For instance? "The 
upcoming Doctor Ruth book is a typical example of too 
many designers getting involved. The finished book only 
contains 2 of the 8 pops I originally designed. Most of them 
being replaced with flaps." 

Are there really less pop-ups worth collecting 
nowadays, or is it just me? "There really are less around due 
to a number of factors. Number one: The market is generally 
now below age 5. Two: Cost issues effect design and 
manufacturing. Three: A reluctance by publishers to buy 
pop-ups. Four: When they buy pop-ups they want low price 


points. These are obviously generalizations but are the 
main causes for there being less around." 

What have you done to address these issues? "Well, 
for the last 3 years I have done far more novelty books 
[mainly non-fiction and aimed at the under 5 market] than 
pop-ups and movables. In the last 12 months I have done 
something in the region of 64 titles and only about 10 
would be classified as pop-ups. I've also been very 
successful in the mini-pop boardbooks having now done 
32 titles for various publishers and probably printed in the 
region of 3 to 4 million units. A good example of the 
points I raised before [about age, cost, etc.], these are 
essentially 'V pops in a boardbook." 

What do you see outside your office window? "A few 
rooftops, lots of trees and skyline. We are in a very 
wooded area of London and are situated on a hill so 1 can 
see quite a long way." What do you see in your movable 
crystal ball? "There will always be a role for movable 
books as long as the subject matter and design works well 
and captures the public taste." 

Anything else? "Licensed characters will still remain 
a valid area for the pop-up format as the hype and 
publicity help (increase) the quantities produced." And 
"pop-ups for grown-ups?" "If the market would accept 
both the cost and the principle, (the adult genre) could be 
a very exciting (one)." 

And new talent? "There are also a lot of designers 
coming out of art college who have studied paper 
engineering in their course. This is bringing about a lot of 
advertising work that can be classified as pop-ups. Maybe 
they will move into books at a later stage." The Man in 
Black is obviously talking from experience. 

Any up-and-coming pop-up personalities? lc No 
names. I'm just aware that I'm getting more and more 
mail shots containing simple pop-ups and mechanics. 
There are also a number of courses at art colleges today; 
as well as a course project [one of the choices is to design 
a pop-up book for children] at secondary school. I get 
about 40 to 50 letters a year from school children [they 
find me I presume on the Web] asking advice for their 
project. Interestingly 98% (are) female as traditionally 
there have been only a few female paper engineers." 

By the way, as a child, what was the very first pop-up 
book you ever owned? "Unfortunately I don't have a 
memory of pop-ups as a child. My first interest was at art 
college (Leicester College of Art and then Ravensbourne 
College of Art) in the 60s." Any specific title or artist? 
"No. I don't think I had developed a sense of names and 

personalities (then). I just saw it as a way of doing original 
graphic design." 

What does your family think of the work you do? "I've 
never really asked. It's a fairly interesting career that has 
given us the opportunity for a reasonably good life. My wife 
thinks I work far to long and hard but appreciates the 
vagaries of the business." 

Spread from Let's Look Under the Sea 

If you could have any job you wanted, what would it 
be? "The one I have. I work with some great people, great 
properties (i.e. licensed characters, movies, etc.) and get to 
travel the world." The Man in Black surely travels a lot. 
Two days after the "interview," as a courtesy, I e-mailed the 
first draft of my write-up to Graham. He wrote back: "I'm in 
Spain but will read (the article) again over the weekend." He 
replied a day later with a few "suggested changes" plus this 
bit of info: "You'll be glad to know its 33C (degrees 
Centigrade) here and I'm just post lunch." It's almost 
midnight-snack time here in the Philippines and the man is 
talking about lunch in Spain. Tengo mucha hambre ahora. 

Any regrets? "Not really regrets. Maybe a bit more 
financially successful but all in all I've had a comfortable life 
and what better way than spending your time creating for 
kids. I found I had the ability to still retain a wonder and 
naivete in my thinking that still makes me smile." 

The hesitant heir to the pop-up throne finally discloses: 
"There is a satisfying idea that a career like mine gives a 
certain longevity in that there will be books around on 
people's shelves for many years and that I've given some fun 
to adults and children over the years." Expect more fun from 
the Man in Black in the years to come. 


Royalty, continued from page 1 

Note that I wrote "currently," meaning the crown is NOT 
permanently his. And we are talking about a crown of 
success and NOT a crown of succession (i.e. royalty). 

I continued: "Second, I'd like to think that aside from 
being a very self-assured (albeit humble — uh-huh, he 
blushes when praised!) person, Robert definitely knows 
the distinction between "pop-up" and "movable" hence 
will not even flinch when he sees the "movable crown" 
phrase. Third, as I've just mentioned, there is a BIG 
between movable 
books and pop-up 
books thus 
collectors worth 
their salt would 
surely know that. 
Now, as for the 
BLIND (yes, pun 
intended) adoring 
'fans' who won't 
be able to SEE 
that distinction, 
too bad! Ignorance 
is inexcusable." 

At this stage, I 
was tempted to 
share with Andy 
what I knew. 
Over lunch 
last year, Robert 
intimated to me 
that he believed 
Andy was the 
"pull-tab expert." 
It is a fact that 
Robert has 

recommended Andy's name to publishers and illustrators 
who are looking for this kind of expertise. But 1 seriously 
didn't know where Andy was coming from. What was this 
fuss all about? Did I imply he was jumping the succession 
line? I simply couldn't put my finger on it. 

I decided to keep everything to myself, so I ended my 
treatise with: "Fourth, name me a paper engineer (or 
paper engineers) that has (have) recently made great 
strides in the pull-tab mech arena. C'mon, this should be 
an easy one to answer since it's a VERY, VERY short list. 
Enough said." I don't know if Andy didn't but I certainly 
did hear the generous praises he got from the crowd at the 

Pull-tab Maker. The future "Baron 

of Saute Fe." Andrew Baron wrote, 

"I called my mom and she says it's 

a school picture from approximately 

the fourth grade, so I would have 

been about ten." 

New York Conference after he wowed them with his paper 

Anyway, I thought that was the last I would hear from 
Andy about the subject, so I moved on to my next 
assignment. I began to do a little research in preparation for 
an interview with BWJ Managing Director Graham Brown. 
And what would I discover on my first day of 
cyber-sleuthing? Graham Marks in Publishing News had 
bestowed on Graham Brown the "King of the Pop-ups" title. 
Another movable maelstrom in the making? I made a mental 
note of it and I promised myself that I would take it up with 

A few days later, I received this apologetic note from 
Andy: "Please don't be upset with me, but I called Ann just 
a little while ago, and asked her to make a tiny change to the 
article by substituting 'pull-tab' in place of 'movable' in the 
sentence that was making me nervous. This keeps your 
intent while providing a specific term for anyone who might 
perceive 'movable' as a general description." 

Here I was, tearing my hair out, carefully crafting the 
Graham questionnaire, trying to find a tactful way of 
introducing the "King of the Pop-ups" subject ~ and I 
receive this note from Andy. What a welcome break from 
this thankless, tortuous exercise! I never had a good chuckle 
in ages. 1 replied: "I am not upset but amused. I initially 
wrote 'pull-tab crown' (certainly more precise as far as our 
movable lexicon is concerned) but decided to use 'movable 
crown' instead since the former, after a second reading, 
reminded me of beer (or soda) containers!" 

I explained: "A 'pull-tab' was a 'ring' a drinker pulled to 
open a beer can. (I say 'was' because the 'ring pull-tab' [or 
RPT, for short] has since been replaced by a 'push-tab,' 
which does not separate from the can. I believe this 
innovation prevented people from littering. One wonders 
how many non-biodegradable aluminum RPTs people have 
thrown out of their car windows?) A 'crown,' on the other 
hand, is the crimped cap on a beer bottle. So you can 
imagine my amusement when I re-read the sentence. (Yes, 
I've written countless briefs for beer and soda — and 
'pull-tab crown' takes on another dimension given my 
advertising and marketing background.) I could see in my 
mind a picture of Andrew Baron wearing a gigantic beer cap 
on his head!" 

1 continued: "Thus I revised it to 'movable crown' — 
comfortable with the thought that it was within the context 
of Meggendorfer and Wehr who are known for their pull (or 
slide) tabs, and certainly not pop-ups. As every MBS 
member knows, the first true pop-ups, technically speaking, 
were created by Harold B. Lentz and S. Louis Giraud (with 
partner Theodore Brown) in the 1930s." 


Finally, I wrote: "Anyway, at this point, I seriously 
don't think 'pull-tab crown' would be mistakenly confused 
with beer containers since the term is likewise within the 
context of Lothar and Julian. (I just hope I'm the only 
MBS member who's familiar with the other meaning of 
'pull-tab crown.' I don't want to be the cause of any ugly 
rumor that Lothar Meggendorfer, Julian Wehr and 
Andrew Baron were/are inveterate inebriates.) Yes, I can 
absolutely live with 'pull-tab crown.'" 

With that out of the way, I continued to work on the 
Graham Brown interview. I managed to slip in the "King 
of the Pop-ups" question and Graham gamely clarified 
that the epithet was "really a journalistic pun on my 
e-mail address" - referring to the 'popking' in 
<graham@popking. demon. co. uk>. He humbly 
acknowledged: "I think I have added (to) and been 
formative in the pop-up world but (I) wouldn't take the 
title of 'King.'" After my experience with Andy, I made it 
a point that this revelation would appear in the first 
paragraph and not somewhere else in the article. 

After two days of putting the write-up together, as a 
courtesy, just like I did with Andy, I cleared my first draft 
with Graham. He wrote back: "I'm in Spain but will read 
(your article) again over the weekend. I should mention 
Wally [Intervisual's Waldo H. Hunt] as he has been a 
great friend." A day later, Graham affixed these two 
sentences to the first paragraph: "This [referring to the 
'King of the Pop-ups' title] can only really be attributed to 
Wally. Without him none of us would be in the business 
as it probably wouldn't exist." 

Suddenly, everything made sense to me. I finally knew 
where Andy was coming from. This wasn't about him 
jumping the succession line. It had nothing to do with 
royalty. Our pop-up planet was not ruled by "royalty" but 
by another seven-letter "R" word called "respect." No 
wonder Andy was quibbling about one innocuous word. 
No wonder Graham asked me to wait one night for two 
sentences. It was all about "respect." Respect for their 
peers, their colleagues, their mentors and their friends. 

Yes, I'd like to report that this royalty rubbish is just a 
crass creation of a puerile press. David Carter states: "I 
have never understood the fascination with royalty; and I 
certainly do not think the art of pop-ups, or any art form, 
should have anything to do with it in any way, shape or 
form. But if there was to be a King, Wally would certainly 
be the top choice. I agree with Graham Brown that, 
without Waldo, the pop-up industry that we know today 
would simply not exist." I fly across cyberspace in my 
laptop to ask Michael Dawson for his opinion. Michael 
concurs: "Undoubtably, Wally's influence has been 
enormous so I can understand Graham Brown's reluctance 

to steal his thunder." 

David Carter fondly adds: "I have known Wally for close 
to twenty years and, now that I think of it, I would choose to 
refer to Wally as 'The Godfather of Pop-ups' or 'The 
Energizer Bunny of Pop-ups' or even 'The Timex of 
Pop-ups' — he takes a lickin' and keeps on tickin'! — and 
you can print that." So I e-mail the "Godfather of Pop-ups" 
to ask him what he thinks of all this adulation, er, respect 
from Graham and the rest. 

He replies by Royal 

Fax: "I confess, 

many people 

consider me the 

'Pop-up King.' 

All I can do is 

present my 

credentials so 

you can decide 

for yourself 

My company, 



pioneered the 

pop-up magazine 

insert, direct 

mail, and point of 

purchase display 

business starting 

in 1960." 

The Little Prince. The future 
"King of New York." Robert Sabuda 
labeled this picture "little paper 
engineer" but wrote, "Sorry, 
no photos with scissors." 

The "Godfather 
of Pop-ups" 
continues: "We 
developed pop-up 
book lines for Random House and Hallmark from 1 965 to 
1973. 1 launched Intervisual in 1974 and we have produced 
over 1,300 moveable book titles to date and millions of 
pop-up magazine inserts and premium books for major 
advertisers." While the numbers are evident, Wally's 
immense contribution to the Second Golden Age of Pop-up 
Books is immeasurable. I can fully understand why David 
and Graham bow their heads in respect. 

The "Energizer Bunny of Pop-ups" keeps on going: "The 
millions of books we have produced and delivered to over 
200 publishers throughout the world have had a retail value 
of over one billion dollars." The "enormous influence" that 
Michael is talking about seems like an understatement now. 

The "Timex of Pop-ups" finally writes: "In 1991 we spun 
off our commercial division to RR Donnelly. It continued 
with the name Intervisual Communications and we became 
Intervisual Books. Our non-compete agreement expired 


several years ago and we are once again in the commercial 
pop-up business." 

(Author's Note: I have only met the "Energizer Bunny 
of Pop-ups" once - and that was 3 years ago ~ yet he 
hasn't forgotten me. I received a surprise package from 
the lovable, thoughtful man this April. Wally wrote: 
"Intervisual is back in the premium business and we have 
two items to add to your collection." These were the Kid 
Rhino "Blue's Big Musical" and "All Aboard with 
Thomas" pop-up CD packages/playsets — two wonderful 
additions to my movable music packaging collection. Yes, 
the king is kind, too.) 

Meanwhile, the "Baron of Santa Fe" reminisces: "I 
well remember RPTs. When I was a little guy at the beach 
in Miami where I grew up, while my brother and sister 
were playing in the surf I was scouring the sand in search 
of pull-tabs to make into chains. I recall that I put together 
chains of RPTs that were longer than I was tall. I don't 
remember what I did with them after I got them home 
(Mom probably threw them away when I was at school)." 

The ex-maker of pull-tab chains continues: "I don't 
think I can read the words 'pull-tab crown' in quite the 
same way now. You're the first, but probably far from the 
last to draw the comparison on these words. I guess the 
only upside is that I can now honestly say that my 
experience with pull-tabs goes back to my earliest 
childhood! (Sounds better than 1995, anyway). Perhaps 
a caricature of me with a crimped-on crown and a ring 
pull-tab necklace should be my new logo!" 

Robert Sabuda states: "The best pull-tab maker today 
is without a doubt Andrew Baron. His designs are unique, 
complex, thoughtful and he doesn't skimp on the amount 
of paper or rivets needed to accomplish an action. His 
upcoming book This Old Man, illustrated by multiple 
Caldecott-winner Paul O. Zelinsky, is a tour-de-force of 
pull-tab movement." I can hear the "Queen of Soul," 
Aretha Franklin, belting out "R-E-S-P-E-C-T" in my 

David Carter provides this insight: "This art is much 
too individualistic and there is room at the top for 
everybody." I totally agree. But be careful, David. Your 
publicist might hear you. ("How about the 'King of 
Invertebrate Anthropod-ups," Mr. Carter?") And let's 
hope those crown-struck, throne-stuck journalists don't 
get their hands on your Elements of Pop-up. What's next? 
The "Emperor of Parallel Folds" The "Tetrarch of Tube 
Straps"? The list is actually endless. The "Czar of Post 
Armatures"? The "Viceroy of V-Folds"? This is a family 
publication so I'm not gonna go there. 

Since some people collect pop-ups with a religious fervor, 
some monikers can be quite, er, reverent. Tom Nelson, 
author of Perfect Pop-up: Greeting Cards the Easy Way 
(1993), is called the "Pope ofPop-ups." Tom admits that this 
is "an entirely self-assumed sobriquet" which he took when 
he published the said book. Ann Montanaro, amused by this 
self-baptism, exclaims: Tm trying to decide how to market 
myself now that I see how easy it is to do!" How about the 
"Mother Superior of Movables," Ann? 

Michael Dawson offers this personal observation: "I 
think it's a bit pointless trying to award imaginary honors, 
especially since I'm a republican!" Long live the pop-up 
republic! And long live respect! 

And what does Robert think of the "Prince of Paper" 
handle? "The title 'Prince of Pop-ups' is rather strange. Is it 
because I'm young? When I get old will I become the 
'Queen Mother of Pop-ups'?" No you won't, Robert, for two 

One, it is written 
in the stars that 
you shall be King. 
The "Lady of 
Pop-ius," Ellen 
Rubin, proclaims: 
"Like many a 
prince, he will go 
on to become 
King by virtue of 
age. This issue of 
ascendancy need 
not be strictly 
like UK royalty. 
When he is either 
old enough, has 
produced enough 
'winners' or is 
just 'ready,' he 
will be crowned. 
I think of him 
as the Crown 
Prince (usually 
youthful) who is 
destined to be King." 
Two, the "Queen 
of Pop-ups" position 
is no longer vacant. 
After a little arm-twisting, David Carter complies: "Well, all 
right, if you insist. Determining the 'Queen of Pop-ups' is 
going to be much more difficult. But I would have to say that 
the honor would have to go to Wally's wife Pat Hunt. Even 
though Pat has never been involved in the day-to-day 
business of pop-ups. she has had to deal with Wally's 

Ellen Teddy. The Future "Lady 
of Pop-ups." "Ellen Gail Kreiger 
at about 3 years old with her 
constant companion teddy bear. I 
Never had a pop-up book or saw 
one until my sons were born." 


24-hour-a-day obsession. For forty years Wally has 
dragged her around the world in the pursuit of pop-ups, 
for forty years she has been on call to house and entertain 
Wally's pop-up guests. She has been Wally's support 
through the highs and the lows. Pat Hunt deserves to be 
anointed the 'Queen of Pop-ups' if for no other reason 
than she has put up with the 'King of Pop-ups' for all of 
these years. And I think that even though she may not 
admit it, she loves pop-ups as much as Waldo does; and 
can you imagine all of the insider stories she must know." 
Hmmm...I smell another article coming. 

The "Prince of 
Paper" ponders: 
"Maybe the 'Duke' 
or 'Earl of Pop-ups' 
would be better 
because no one 
really cares what 
Dukes or Earls do. 
They just gallivant 
off, having fun 
and not worrying 
about the miserable 
pressure of palace 
life." I am distressed 
by this display of 
indecisiveness, this 
shiftlessness. On 
bended knee, I ask 
the "Lady of 
Pop-ups" if he truly 
deserves the "Prince 
of Paper" title. She 
snaps at me "Is he 
worthy, Adie!!???? 
What a question!!!" 
The palace guards fling me across the moat 

The Royal Hunts. Pat and Wally 
Hunt. David Carter wrote: "This 
is a recent photo, I would say it 
was taken in 2001." 

Perhaps the closest brush our movable nation will ever 
have with royalty occurred a little over five-and-a-half 
centuries ago. In 1541, Charles V, emperor of the Holy 
Roman Empire (15 19-56), gave Petrus Apianus, his royal 
astronomer, the sum of 3000 florins and granted him a 
patent of nobility - an act of respect, if I may add — for his 
volvelle-laden masterpiece, Astronomicum Caesareum. 

For the meanwhile, our movable "non-monarchy" has 
to be content with pop-up images of castles and knights — 
and of Prince Charles and Lady Di. Yes, I can absolutely 
live with that, pull-tab crowns and all. 

New Novel Has Paper Engineer Character 

Roy C. Dicks 

Raleigh, North Carolina 

Movable Book Society members should delight in a 
recently published novel, The Grand Complication by Allen 
Kurzweil (Theia/Hyperion, 2001, $24.95, 0-7868-6603-9). 
Besides featuring a reference librarian as the lead character 
and a plot concerning the pursuit of a rare antique by an 
obsessed collector, the book contains a number of references 
to pop-ups and movables. 

Author Kurzweil obviously has had good advice from his 
acknowledged pop-up experts, Carol Barton (an MBS 
member) and Michelle Venditelli. He has made the wife of 
the main character a paper engineer who teaches pop-up 
design and works up creative advertising movables for 
various clients. The descriptions of her home studio (paper 
scraps piled up in the hallway, glue pots everywhere) and 
her movable ad designs (swaying palms for a travel 
brochure, a pop-up leg splint for a medical supply company) 
are believable and apt. 

There is a clever sequence about the courtship of the 
librarian Alexander and his wife Nic, which includes 
references to a manuscript with volvelles and the 
Meggendorfer Circus. Nic also later creates her own pop-up 
version of the Kama Sutra (apparently more explicit than the 
1984 one by Jonathan Biggs!) In another section, Nic is 
teaching her class to do full dissolves. Additionally, there are 
mentions of paper making, bookbinding and calligraphy. 
Unfortunately, the paper 
engineering elements are only 
incidental to the plot and 
appear sparingly throughout 
the book. Nonetheless, since 
most MBS members are book 
lovers and many are obsessed 
collectors, The Grand 
Complication will have much 
appeal. The plot moves 
quickly, with Alexander being 
hired to do research on a 
missing item from an 
eighteenth century cabinet, 
which leads to many 
revelations and surprises. The 

ending may be too contrived for some, but getting to that 
point is great fun. Now the challenge is for someone to do a 
full novel about a paper engineer. Any takers out there? 

Respectfully yours, 
Pop-Up Adie 



Questions and Answers 

Q. Have you ever had pop-up jewelry? The Paper 
Jewelry Collection by Wendy Ramshaw and David 
Watkins (Thames & Hudson, 2000) is a stunning book of 
pop-out paper jewelry to wear. It is for adults, not 
children. There are over 20 high fashion necklaces, 
bracelets, earrings, pins and rings. Included are micro- 
perforated custom papers, metal findings, clear 
instructions and color photos of the finished pieces. No 
tools are required to assemble the pieces. I recommend 
two copies of this book, one to make the jewelry and one 
to keep. 

Marilyn Olin 
Livingston, New Jersey 

Q. A book seller has contacted me about selling two 
books: Peeps Into Fairyland (1895) and Haining's 
Movable Books ( 1 979) she would prefer to sell both books 
together but would consider selling them individually. If 
you are interested, please contact me and I will give you 
the seller's name. 

Ann Montanaro 

East Brunswick, New Jersey 

&avfd A. Carter's 

^-» J - v ,. .^S J ~S 

Q. I want to share my 
experiences with ordering 
the Curious Critters book. I 
online book dealer to order 
the book along with some 
other pop-ups, and other 

In the first copy that 
they sent, the binding was 
bent, and the tab arrows 
showed wear. On the first 

illustration, "Acrobaterpillars," the hoop was out of shape. 
On the third illustation, "The Shine-o-saur," the silver 
wing of the bottom creature was broken off. On the fifth 
illustration, "The Grinsect," the tab did not work 

I returned the copy and order another copy from 

There were defects with this second copy. There was a 
problem again with the "Grinsect" page, where the tab did 
not work properly. The tab did not work at all on the 
"Sopranosaurus" page, and the voice of the "Soprano" 
when the button was pressed was not quite right. 

At this point I did not want to even risk getting a third 
copy with possible other defects. I have returned both and 
will receive credit. I think the book is wonderful, so I then 
called around to some local book stores. The Barnes and 
Noble store in Santa Barbara had two copies. I went down 
to the store and the copy that they were holding for me at 

3 9088 01629 2971 

the counter was also defective. As with the first copy that 

BAM sent me, the silver wing of the bottom creature was 
broken off. Fortunately they had another copy still in its 
original plastic wrapper. This turned out to be a perfect 

I'm pretty sure that other collectors have experienced the 
same thing. I realize that there are a lot of factors that can 
cause defects, these books are very delicately constructed. 
Also the fact that many of the books in bookstores are on 
open shelves, and many people, including myself, can go 
through them to see what they are like can cause harm 
through repeated handling with not enough care. Perhaps it 
is the luck of the draw. The other pop-ups that I ordered 
from BAM came in perfect condition. Perhaps the best 
guarantee to get a perfect copy is to purchase one that is in 
its original plastic wrapping. And then perhaps in some 
cases there is a breakdown in quality control in the 
construction of some of the books. I'd be interested in 
knowing what other collectors have experienced. 

Allen Cohen 
Santa Barbara, CA 

Pop-ups in the News 

"Join the Pop-up Book Club!" reads the headline under 
"Great Finds" in the Winter, 2001 issue of Country 
Collectibles. The two-page article includes a brief history of 
pop-ups and seven color photographs. 

The article "Authors of Invention" in Book Magazine, 
November/December 2001, includes a paragraph on "Pop 
Star: Lothar Meggendorfer, Poohbah of the Pop-up Book." 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. All 
titles include pop-ups unless otherwise identified. 

Dr Optic 's Amazing Illusions. Macmillan Children 's Bookd 
(London). 12" x 12". 10 pages. 0-333-78126-0. 

Pop Goes the Monster! A Powerpuff Girls Pop-up 
Adventure. 9" x 10". 12 pages. 0-439-30548-9. 

Snappy Little Families. 9" x 11 ". 20 pages. Millbrook Press. 


Also: Snappy Little Jungle. 

Soccer. Robert Crowther. Candlewick Press. 9" x 12". 10 
pages. $17.99. 0-7636-1627-3.